"1000 Platitudes" is a large-scale photographic intervention project. It is comprised of photomontages and a video with 1,000 words or expressions commonly used to promote globalised cities to potential investors, such as "open", "modern", "clean", "multicultural" and "cosmopolitan", for example. To make these images, a powerful projector (110,000 ANSI lumens of intensity for images of up to 70 x 70 metres) was placed on a 12-ton truck with a generator.

"1984x1984" is the tenth piece in Lozano-Hemmer’s Shadow Box series of interactive displays with a built-in computerized tracking system. The piece shows a grid of thousands of random numbers extracted from addresses photographed by Google Street View. Scanned by Google from the front doors of buildings around the world, the numbers have an immense variety of fonts, colours, textures, and styles. As a viewer walks in front of the piece, his or her silhouette is represented within the display, and within its form, all numbers countdown to show the number 1984 repeated throughout. The piece was made as a homage to George Orwell’s eponymous dystopian novel, 30 years after his predicted date for the collapse of privacy.

"Amodal Suspension" is a large-scale interactive installation where people can send short text messages to each other using a cell phone or web browser. However, rather than being sent directly, the messages are encoded as unique sequences of flashes with twenty robotically-controlled searchlights, not unlike the patterns that make up Morse code. Messages "bounce" around from searchlight to searchlight, turning the sky into a giant switchboard.

Two million pamphlets were printed in elemental gold, higher in purity than 24-karat gold, using nanotechnology techniques. Around 250,000 copies were released in the exhibition room so they remain floating around in the air, potentially inhaled by the public. These pamphlets are 150 atoms thick and are biologically inert so pose no health risk. The rest of the pamphlets are shown suspended in water together with images taken by an electron microscope. The text engraved onto the gold leaflets is an excerpt from the Ninth Bridgewater Treatise (1837) by Charles Babbage. The text posits that the atmosphere is a vast repository of everything that has ever been said and that we could potentially "rewind" the movement of every molecule of air to recreate the voices of everyone who has spoken in the past.

"Eye Contact" is the first piece of the Shadow Box series of interactive displays with a built-in computerized tracking system. This piece shows eight hundred simultaneous videos of people lying down, resting. As soon as a public member is detected, his or her presence triggers the miniature video portraits to wake up: hundreds of people simultaneously turn to look at the visitor directly, creating an uncanny experience that questions who is the observer and who is the observed.

"Inspired by Real Events" is a series of six black and white photos taken from the point of view of surveillance cameras in different public places of Mexico City. Each photo shows a volunteer climbing a ladder about to reach the camera with his or her hand. A video on a surveillance monitor shows the sequences captured by the cameras.

"Method Random" is a series of chromogenic prints that
have been generated by computational methods that
attempt to create randomness. Random number generators
(RNG) are essential algorithms for a large number of
applications from encryption and security to simulation, jury
selection, double-blind trials, statistical sampling, game
theory and many others. While the sum of all colours picked
by different RNG algorithms generates a neutral gray, patterns
can be discerned when massive number of pixels can
be seen simultaneously. These prints show how human
perception of organization can often spot the fundamental
difficulty for computers to appear unpredictable.

"Navier-Stokes" is a series of computer-controlled lightboxes that show satellite pictures of border regions that have a vector of economic disparity, a history of military conflict or heavy migratory traffic. Instead of using regular white fluorescent light tubes to illuminate the print, the pieces have over one hundred thousand light emitting diodes (LEDs), which can highlight tiny features within the image. The first piece shows the Tijuana-San Diego border with Mexico illuminated red by default while the US is dark.

Performance Review is a photographic project comprised
of thousands of fingerprints captured by high magnification
digital surveillance equipment. While the distinctive
patterns found in friction ridges of the human finger allow
for the identification of an individual, in these images those
singularities are subsumed to create an ambiguous image,
representing the generalized use of biometry itself. Named
after 15 banks, the c-prints in this series are unique, each
consisting of fingerprints from 750 different people.

Human hairs engraved using a nanotechnology technique known as "Focused Ion Beam" (FIB). Each hair was coated with a gold film, FIB engraved with words and photographed with an electron microscope. The piece consists of a metal frame that holds the hair inside a test-tube, a backlit transparency and a certificate from the Brockhouse Institute for Materials Research.
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"Reporters With Borders" is a high resolution interactive display that simultaneously shows 864 video clips of news anchors taken from TV broadcasts in the United States and Mexico. As the viewer stands in front of the piece his or her silhouette is shown on the display and within it reporters begin to talk. Every 5 minutes the piece switches the video clips - from a database of 1600 - and classifies them along gender, race and country, so that for instance on the left there are only American reporters and on the right only Mexicans.

The series "Seismoscopes" consists of devices that detect vibration around them, from footsteps to earthquakes, and record this vibration on paper using an automated XY-plotter. As each Seismoscope registers any seismic wave it is programmed to draw an illustration of a single Skeptical philosopher, over and over again.